Years ago, Sit, formerly know as Freakin Sitnie, made headlines in the Amsterdam Street-Art scene with his distinct style, sharp lines and obstinate artworks. Inspired by Comic illustrators such as Simon Bisley, Sam Keith, Todd Mcfarlane and Jamie Hewlett, he perfected his own style. He was very successful in a very short time. One could admire his works everywhere, at events, in clubs, from Amsterdam to Kuala Lumpur.But he soon realised that this was temporary and a one-way street. Sit wanted more. The Mac had taken over his canvas and the inspiration was limited to what appeared on his screen. That’s when he drew the line. Dissatisfied with our digitally manipulated and superficial society, he went back to the basics.

UNWIREDSit had to detoxify from bits and bytes, media, hypes, lovers, haters and colours to find the true essence of creativity again. No more digital drama, no more BS.

UNWIRED is the documented process of his everyday struggle to get unwired. The progress from feeling lost to finding purity. It not only took him a full year to transfer his new found creativity in images, but also to master all sorts of new techniques and a skills. Now he feels he finally has enough work to exhibit, which is a true representation of the new ´Sit´. All is documented in black and white. So, absorb his scratches, sketches, strokes and scrapings. Step into Sit’s world and experience that we are all sick bastards who all wear straitjackets.So, there you are…finally, UNWIRED!!!

The paintings were black and white and the gallery was festooned with black cable. Its always a pleasure to see an exhibition that features high quality drawing. There was a combination of spray can and palette knife. It was unusual to see such skill with the knife in an artist as young as this.

The images online do little justice to the paintings in the original but shouldn't be missed nethertheless.. http://www.unwired2008.com/

Concurrent with the exhibition Color Chart: Reinventing Color, 1950 to Today, this installation of Library and Conservation Department materials documents color charting in twentieth-century publications, emphasizing commercial, art historical, and avant-garde works. These artists' books, industry publications, and other documentary materials exemplify the development of a color industry in this period—a machine for living color—and its influence on modern art, design, photography, and film. Materials include an industry-standard Munsell Color Book (c. 1930), a textile-industry sample book, and early paint color charts.

This installation of twentieth-century color charts shows that there is no one “true” model for color. Rather, visualizations reflect the orientation of their creators. A paint chemist’s molecular diagram has little in common with a designer’s Pantone color swatch or the random colors of a Gerhard Richter painting, but each system has a way to represent the idea red. Industrial society requires a precise and standardized definition of blue and the millions of other colors visible to the human eye. Designers, producers, and consumers depend upon color standards, often expressed as charts, and such organizing systems are integral to color theory, science, and aesthetics.

The color theory taught in most art and design schools is strongly influenced by the ideas of the Bauhaus (1917–33), a German modern design school. This approach emphasizes the visual effects of juxtaposed colors. Less well known today are the spiritual and philosophically oriented theories of teachers Wassily Kandinsky, Johannes Itten, and Paul Klee. Some taught that colors had universal qualities, such as direction and shape (that diagonal lines and triangles are inherently yellow, for example).

Beginning in the 1960s, artists schooled in this tradition began to question its assumptions, especially the notion that colors have universal meaning. At the same time, the Conceptual art movement led artists to interrogate color-organization systems. The results are reflected in the exhibition Color Chart: Reinventing Color, 1950 to Today, on the sixth floor of the Museum, and in the artworks in book form, known as artists’ books, that are on display here. These artists’ books engage color systems, both questioning and celebrating them.http://moma.org/exhibitions/2008/livingcolor/index.html

Colour Chart celebrates a paradox: the lush beauty that results when contemporary artists assign color decisions to chance, readymade source, or arbitrary system. Midway through the twentieth century, long-held convictions regarding the spiritual truth or scientific validity of particular colors gave way to an excitement about color as a mass-produced and standardized commercial product. The Romantic quest for personal expression instead became Andy Warhol's "I want to be a machine;" the artistry of mixing pigments was eclipsed by Frank Stella's "Straight out of the can; it can't get better than that."

Colour Chart is the first major exhibition devoted to this pivotal transformation, featuring work by some forty artists ranging from Ellsworth Kelly and Gerhard Richter to Sherrie Levine and Damien Hirst.

Created by J. Severn, this site is "an online community for printmakers, book artists and papermakers", particularly those involved in contemporary print practices. The site includes a research library, a mailing list/forum and a weblog of activities. The resource library, or catalogue, provides a listing of websites relating to printmaking, hand papermaking & artists' books in Australia. It has categories for printmaking, other media, Australia/New Zealand, theory and the arts. Other sections of the site include the 'impressions' weblog, the mailing list and online forum. There are details of print exchange projects, plus information about the Print Australia Archive, deposited as part of the Australian Print Collection at the Wagga Wagga Regional Gallery.

the digital camera found some of these drawings so optically challanging that it had difficulty finding the surface to focus on, like trying to photograph something inside a glass case.Water series: 2004/2005 Amsterdam

Discover an inspiring and powerful collection of contemporary Australian portraiture and photography at Moran Prizes 2008. View the captivating works of competition winners and finalists from the annual Doug Moran National Portrait Prize (DMNPP) and the Moran Contemporary Photographic Prize (MCPP), offering a prize pool of $210,000.

Top awards went to Fiona Lowry, winner of the $100,000 DMNPP, for her work entitled What I Assume You Shall Assume. The $50,000 MCPP open category was won by Belinda Mason for her photograph Four Generations.

The free exhibition also features works of celebrity subjects including Nick Cave, Jennifer Hawkins and Reg Mombasa, as well as over 60 impressive entries by students from Years 5 to 12.

17 March, 2008

We all agree that art is created by artists. But what happens when machines start producing art? Do artists become simple engineers? What can we then consider as the artwork: the machine, the final product or the process of creation? From Jean Tinguely's drawing machines dating back to the 1950s to the ones currently produced by Angela Bulloch, Jon Kessler or Cornelia Sollfrank, all of them have a common feature: they produce their own art. Depending on the mechanical process involved, visitors may keep certain works such as drawings produced by Jean Tinguely's Meta-Matics and certified stamped sheets produced by Damien Hirst's or Olafur Eliasson's machines. To create a machine as an artwork and to entrust it with the responsibility of developing further artworks is a radical step. It means delegating creativity to a piece of equipment. Do such art machines then possess a “soul”?

A dynamic and popular exhibition featuring a selection of outstanding student artworks developed for the artmaking component of the NSW Higher School Certificate examination in Visual Arts, 2007. It includes a broad range of approaches, and expressive forms, including ceramics, collection of works, drawing, painting, photography, printmaking, sculpture and video. Art Express2 Feb - 30 MarchArt Gallery of NSW, Sydney

15 March, 2008

The Print Australia exchang schedule has changed and developed over the years as experience and the list have grown. The first exchange was started in late 1999 and the list was founded in Jan 2000 to facilitate its administration. By 2002 we had several exchanges completed and in 2002 I introduced a miniature print exchange into the PA annual schedule.

The idea was that we needed a simple non-threatening and fun exchange for new and old members to share ideas and get to know one another. I did a lot of research and following on from my experience in designing and introducing a similar exchange on another list, came up with the design for the miniature print exchange.

By making the exchange a direct post between members i wanted to reintroduce the excitement of finding something nice in the letterbox, like xmas cards but without the theology. The earlier exchange had a theme of chinese astrology, I set the print australia miniture print exchange at solstice to give it a non-demoninational ie astonomical due date. It was originally intended to run at june so as not to compete with christmas. This due date was then taken up as the theme and the first exchange was run as a "solstice" exchange. I changed the later exchanges to be open in theme as this was in keeping with the 'experimental' format.

By making the size small, the prints are similar to 'samples' of print techniques, or of an individual's work. The other Print Australia exchanges are more formal in requirements, the miniprint is meant to be completely open to give members freedom to experiment. Eg. we had one print that arrived screenprinted on wetsuit fabric. The prints are miniature prints that are postcard sized at 4 x 6 inches, this is not an exchange of 'postcards'.

It is designed to be an icebreaker. The prints have to be accompanied by a colophon and the requirement is that the technique be discussed onlist. Both the colophon and onlist discussion are normal features of PA exchanges . The colophon is a requirement for inclusion in the PA archives at wagga wagga regional art gallery and the discussion is to build the sense of community.

the exchange has been very successful and fulfilled its designed role well.

Directions: To be mailed directly to participants in envelope. Each participant will receive a list of names and addresses.

Requirements: All particpants must complete the exchange or return prints received. Participants must be members of the lyrebyrd mailing list and take an active part in the administration and discussion of the exchange.

Due Date: Spring/Autumn Equinox - March 22nd 2007 or thereaboutsExchange Size: max 30 participants, 2 archive prints, total 32 printsSize: paper: 4 x 6 ins or 10 x 15cms in envelope; image anything within that sizeColophon: print is to be accompanied by explanatory text and colophon stating title, content, materials and method.Subject: open & experimentalMedia: any print media editionedDirections: To be mailed directly to participants in envelope. Each participant will receive a list of names and addresses. The address list is not published online.

Requirements: All particpants must complete the exchange or return prints received. Participants must be members of the lyrebyrd mailing list and take an active part in the administration and discussion of the exchange. The prints must be newly made for the exchange.

Archive: One archive set is for the Australian Print Collection at Wagga Wagga; I have plans for the other set.

++++++++++++++++++++++++++++Thanks for all the prints everyone - I've loved every one of them. ... So much fun receiving them. ...... The prints look great all together on the list site. Happy printing, Sandra All the prints I got were wonderful. sincerely humberto saenz

"Just so you know what we are talking about here, print australia runs an annual miniature print exchange which is just concluding. The idea behind the exchange is that it is an informal exchange of prints and an opportunity to experiment and share your techniques. An archival set of the prints is collected and donated to the print collection at Wagga Wagga gallery.

To make it more interesting, we avoided sending the prints through one coordinator, instead each person mails out the prints directly to the others, much as you would send out xmas cards. We set the timing for the solstice, partly to make it a holiday event and partly because it was my intention to make it a twice yearly event if it was successful. I'd be happy to introduce the June solstice exchange if we had demand. Just let me know....

The theme is open, though many people take 'solstice' as their subject, and the media is open.

congratulations to all the participants, an excellent body of workand a good time was had by all!

J Severn, Curator "++++++++++++++++Introduction

ANNOUNCING SSNW04

You are hereby invited to join in the Southern Summer Northern Winter solstice mini-print exchange for 2004. Last year's entries were WONDERFUL!!! For 2003, we had 35 participants.

HOW IT WORKS: A list of snail mail addresses will be compiled by the coordinator. Very soon after, each participant will receive by email a list of other participants and their snail mail addresses. It is the responsibility of each participant to send a print to each of the other participants on the list as soon as convenient. Prints should be sent in individual envelopes, rather than as postcards, to protect the image from damage.++++++++++++++++++List of Participants Judy BarrassAnthea BoesenbergCarole CarrollLeanne ColeGeorgia CouttsTheresa DarmodyAndy EnglishGeorga GarsideBrent HaddockSarah HauserGeorge JarvisRosanna Jurisevic Jo KambourianSharen LinderWendy McGrathJohn OwensJenny PapaBarbara PateraPatricia ProcivBernd ReichetMellisa Read-DevineSue SalsburyJ SevernLisa Sisley-BlinnJulie SparksAd StijnmanSylivia TaylorJan TelferFrank TruebaJulia Wakefield Lynette WeirSandra WilliamsMellisa Wright

my very first exchange! I so enjoy being a part of this group, and even though I don't say a lot you are all wonderful teachers and I am listening carefully! ... I am honoured to be recieving wonderful prints in exchange and its like presents (presence!) in the mailbox everytime ... Thankyou everyone involved...I'm looking forward to the next! Joanna

Thanks to everyone who has sent prints so far, they're wonderful. Cheers Theresa

Thanks to everyone who participated in the exchange... you've made it a treat to check the mail these past few months. Julie C. Sparks

Thank you to all who have sent their prints, it has been a real joy to find such wonderful work in my letterbox over the past number of months. Will sure miss them when they stop coming. .... SSNW04 was a wonderful experience. The excitement at finding an artwork in my letterbox from another printmaker has encouraged me to sign up for the Non Toxic Experimental Exchange. ...I do avidly read the Print Australia posts. I find the information offered invaluable and interesting, enhancing my understanding of printmaking processes. RosannaI want to thank you all for the lovely prints that have found their way to me. Sylvia I joined the group to gain a sense of connectedness to whats happening in the wide world of printmaking and to motivate me to print and learn as much as I can.... which is where the exchanges come in... the BEST way to develop editioning skills...I was in the SSNW04 exchange and It was a fantastic experience... I treasure the prints I have received from everyone - everyones passion for everything print and art related and the willingness to share all those wonderful sites of info has been invaluable...thanks! Jo

Print Australia HAS changed my life! Instead of being driven to blissful distraction by images I could paint or sculpt, I now give 70% of that 'air'time to Printmaking. I'm supposed to be working here at my desk in the family business and instead I want to tell you of my plans for more woodengravings! more woodcuts! my dream of owning a press! .... Mellissa

The present invention features various systems and methods for providing an image on an organic product to provide a communication to the recipient or otherwise individualize the organic product. Notably, the present invention features an organic product printing system comprising at least one organic product; a support structure that secures one or more organic products therein for printing upon them, wherein the support structure comprises a stabilizer bar for supporting one or more printing assemblies; and at least one printing assembly supported within the support structure, wherein the printing assembly comprises a printing device that prints an image onto the organic product.

We are staging a Fringe exhibition called 'The Printmaker's Art' at a gallery in the Hills just outside Adelaide (20 minutes drive) ... opening on Feb 21.

The Fringe exhibition (21 Feb - 14 March) is going to be the Metal Exchange, plus work of South Australian printmakers, with lots of explanations about how the prints were made for the enlightenment of the general public. There will be talks and demos during the exhibition, as well as the postcard exchange workshops.

It will take place at the Rowland Rees Gallery, an old community hall, local heritage listed, in Summertown, a small settlement in the beautiful Adelaide Hills, but only 20 minutes from the City. I may not have room to show all the Metal Exchange prints in frames, but the plan is to show them in folios otherwise, and I will show my other postcard collections from the Year of the Snake and the Year of the Horse in folders.Adelaide Fringe Postcard ExchangeCurated by Julia Wakefield for the Adelaide Fringe 2004"To reiterate, during our Fringe exhibition we will be inviting members of the public to have a go at printing a postcard, signing it, and sending it to one of our participating printmakers. We are hoping that these kind and friendly printmakers will post a limited edition postcard back to the sender. The idea is to get Fringe visitors actively involved in printmaking, and if they have the added bonus of receiving an original print in return for their own first-time effort, they'll appreciate printmaking even more, and either start collecting prints or start learning to do it for themselves."

'The Printmaker's Art' is an exhibition designed by printmakers, which aims to explain the complex world of contemporasry printmaking in a number of different and exciting ways. The Rowland Rees Gallery is the only visual arts venue that is dedicated to the local Hills community, represented by the East Torrens Community Arts Association. The Association has joined with a number of established South Australian printmakers to present this special exhibition.

There will be prints on display by more than forty printmakers, providing first-class examples of the huge variety of print media that are in use today. In addition to the South Australian works, there will be displays of experimental print exchanges initiated via the Internet, involving participants from all over the world.Of particular interest is the firstshowing of a new exchange coordinated by the Print Australia website, which exists to promote communication between professional printmakers, not only in Australia, but worldwide. (Metal Plate Exchange)

And there will be opportunities for visitors to experiment for themselves. Workshops leading up to the exhibition, and drop-in workshops to be held during the exhibition, will enable people to try out some of the simpler printmaking techniques. You will be able to print your own Fringe postcard, and participate in an international postcard exchange. (Adelaide Fringe Postcard Exchange) There will also be artists' talks and demonstrations.

Curator: Julia Wakefield

+++++++++About Print Australia

" Some of us have been at it for years, but we're all beginners when it comes to new techniques. I started printmaking in the bad old days when everything was toxic, and no-one had heard of print exchanges. I did a refresher printmaking course a few years back in the UK, but after I discovered Print Australia I found there was so much I didn't know, and it was so much easier to find the answers now I had access to so many experts on different techniques. I liken it to the Open University of Printmaking - without having to write essays. Julia "

After the success of last year's PrintAustralia Solstice Card Exchange, we have decided to make an annual event of it. We have decided to call it the Southern Summer Northern Winter Mini-Print Exchange.

Participants may sign-up by sending their snail mail address to the coordinator.

A list of snail mail addresses will be compiled by the coordinator. Very soon after November 25, each participant will receive by email a list of other participants and their snail mail addresses. It is the responsibility of each participant to send a print to each of the other participants on the list as soon as convenient. Prints should be sent in individual envelopes, rather than as postcards, to protect the image from damage.

Subject: Re: [PrintAustralia) ssnw I must say I love this stlye of exchange! Getting the images one by one inthe mail is really exciting! They are all so wonderful....... Anthea Boesenberg

"I'd like to thank everyone for the wonderful prints I've been receiving. I've never participated in an exchange before but I'm really enjoying going to my mailbox and finding these great treasures. All of them are wonderful. .... It's really an honor and an exceptional opportunity to be part of this exchange. " Robert Hess

I have received many beautiful cards. Thank you for the inspiration. It is truely a treat to get them! LisaI just have to say how much I am enjoying the SSNW exchange- a truely wonderful experience. Every print is so incredibly beautiful and unique. It has been a highlight of my day to discover yet another gem in the letterbox. A very warm and sincere thank you to each and every participant... Melissa Wright My mailbox has had a few exciting weeks with so many fabulous prints dropping in. This is my first swap with the group and I'm not sure how to go about thanking everyone. Jenny Papa

Thanks to all who took the trouble to send prints out to me. They've really brightened up a really damp and dismal end to the year. Andy English

Although our weather 'down under' doesn't need brightening (it's supposed to reach 29 degrees today) the postcards have been a highllight over the Christmas season. The expectation that there will be another beautiful print in the letter box is akin to the "hidden treasure" phonomemon. I'm very pleased that I was able to participate in this exchange. Sandra Williams Just wanted to thank all those who I have recieved SSNW cards from so far! They are great!!!!! Pete Walls

It has been a great pleasure getting the odd surprise letter from somewhere around our globe. They are ALL wonderful, and I will definately be participating next year. Tanya Gold

PERFORMERS FESTIVAL On 12 April I am invited to present my performance "Shared Space" at International Theatre Research Location Schloss Broellin in Pasewalk, Germany. Than on 18-19 April I take a part in Performance Festival KONTRAPUNKT at OFFicyna Place of Art in Szczecin, Poland with the performance "Drawing Blind".

CINDERELLA II - The Dreamer at South Australian School of Art Gallery, Uni SA Adelaide. This project which is a hybrid of drawing, installation, video and sound, is supported by Australia Council for the Arts, New Work(Established Artist) Grant.Opening 21 May 2008, 6 - 9 pmDates: 20 May - 27 June 2008http://www.gosiawlodarczak.com/Pages/Installations/Dreamer.html

No longer limited to printmaking, the lyrebyrd list is currently a forum for discussion of all contemporary art forms and the administration of Lyrebyrd art projects. Members post exhibition announcements and calls for participation.

Membership is by application, all members are screened as an anti-spam precaution. The list archives are restricted access for members only.

There are two ways of applying, by email or online. Yahoo advises that the email subscription service is currently not working, so the online method is preferred. If you have recently applied to join via email we did not receive your application.

You are also required to provide some identification and URLs to the moderators."It is a condition of membership that you identify yourself to the list moderators. This is primarily for the protection of members and to prevent spam distributors from abusing the list. The information you provide will not be distributed or used for any other purpose than identification of members to the list's administrators."

10 March, 2008

Theme: The theme for this exchange is Nature with a special emphasis on its fragility and endangerment. Anything to do with the natural world is included,whether flora, fauna or the environment, it may be political scientific or observational.

Media: Contemporary print practice with emphasis on new technologies or the combination of digital and traditional methodologies is encouraged. The prints must be editioned.

Dimensions: The paper must be either 11 x 15 inches, or 28 by 38cms.

Edition Size: Minimum edition size of 25. You will submit one for each participant plus one for the Print Australia Archive and one for an exhibition set. Final number of participants to be advised by 1st May 2004.

Nowadays, it is hard to imagine international daily life without Japanese comic strips (Manga) and animation films (Anime). By 2002, Manga made up more than 40 percent of all Japanese printed materials and today it is the leading comic strip market not just in Asia, but also in the USA and Europe, with a market share of approximately 80 percent.

The Museum für Angewandte Kunst Frankfurt will provide both a comprehensive historical overview of Manga’s early forms in 19th century painting and woodcuts, as well as a panorama of ground-breaking Manga during the 20th and 21st centuries. The less-informed visitor will also be able to gain insights into the highly imaginative world of Japanese comic strips through an interactive reading room with present-day Manga. Diverse, exemplary works of contemporary Japanese art that integrate Manga imagery will also be presented, including contributions by Nara Yoshitomo, Aida Makoto and Shiriagari Kotobuki.

MANGA, a specifically Japanese form of comic strip, is undoubtedly the most influential cultural phenomenon in Japan today. Nearly 40percent of all the country’s printed materials in 2002 were Manga. The total circulation of all Japanese comic strips is estimated at over one hundred million copies per month. In 1993, when the Manga boom reached its climax, 1.59 billion Manga comic books were sold in Japan. The slight fall in sales figures in subsequent years can certainly be attributed to the fact that since then the printed comic books have had to share the consumer’s attention with ANIME – cartoons that are usually computer-generated today, which have been enjoying increasing popularity.press releasehttp://www.angewandtekunst-frankfurt.de/aktuell/eng/bilder/Press_Mangamania.pdfimageshttp://www.angewandtekunst-frankfurt.de/aktuell/eng/03_presse01.html

From 22 February to 29 June 2008, the Museum of Contemporary Art of Lyon is presenting one of the biggest exhibitions ever organized in France in homage to Keith Haring, an emblematic figure of the New York art scene of the 1980s, who would have been 50 in 2008.

This exceptional exhibition has been entrusted to the Italian curator Gianni Mercurio and is being organised in close collaboration with the Keith Haring Foundation in New York.

The retrospective will be set out in a deliberately nonchronological sequence. The artist's short career, spanning the years from 1980 to 1990, is viewed as a whole. Like Keith Haring in his own work, filling the canvas, putting his art in the most unexpected places, covering even objects and bodies, the exhibition will take over the museum, taking possession of the spaces in order to immerse visitors in the colourful, dynamic and teeming world of this artist.

On the occasion of Baselitz’ 70th birthday, the Deichtorhallen exhibit the series of „Russian Paintings“, while the Royal Academy dedicades a singlee main exhibition of the artist.

Georg Baselitz is seen as an artist who has voraciously consumed-and altered- Western figurative styles from both the recent and distant past. With his paintings, which are turned up side down he conquered the international art world. He is Germany’s most famous living artist.

The exhibition at Deichtorhallen in Hamburg constitutes the first presentation of the “Russian paintings” in a German-speaking country. The “Russian paintings” are a series of large- and medium-sized paintings, which Georg Baselitz produced between 1998 and 2002. In the series, he addressed famous works of “Socialist Realism” dating from the Stalinist era, which, on the one hand, represented pictures that had a great influence on him during his youth in then East Germany, and, on the other hand, have since inspired him to revise his relation to German and European 20th century history by affording especially great painterly freedom.

Thus, the “Russian paintings” can be seen as the second experimental series Georg Baselitz has produced at the turn of the century. In them, he has most energetically and courageously introduced a completely new phase in his painterly work – comparable to the “Remix paintings”, but in a very different way.

The exhibition of the “Russian paintings” shows 58 paintings, and was produced in cooperation with the Musée d'art moderne de Saint-Etienne as well as the Nationalmuseum of Modern Art in Seoul.

07 March, 2008

John Everett Millais (1829-1896) was the foremost painter of the English Pre-Raphaelite Brotherhood, and Britain’s most successful artist of the latter half of the 19th century. The exhibition, organised in collaboration with Tate Britain in London, comprises some 100 works and is the first monograph review since 1967 and the first exhibition since 1898 to cover all aspects of Millais’ career.John Everett Millais founded the Pre-Raphaelite Brotherhood in late 1848, together with Dante Gabriel Rossetti and William Holman Hunt. This group of painters, poets and critics rejected the academism prescribed by the traditionalist Royal Academy and propagated a return to the honest simplicity in art they saw as having been lost after the Renaissance. The exhibition reveals the shifts in Millais’ style, from the most audacious ‘primitive’ and confrontational works dating from his Pre-Raphaelite period to popular nostalgic subjects including his famous society portraits and the evocative late landscapes that also charmed Vincent van Gogh.

OpheliaOne of the highlights of the exhibition is his painting of Ophelia loaned by the Tate. This work was inspired by Shakespeare’s Hamlet in which Ophelia, driven insane by her beloved Hamlet’s murder of her father, drowns herself. The painting displays a subtle interplay of mystique, a highly refined technique and subdued drama.

+++++++

Visitors to the exhibition John Everett Millais with an mp3 player or iPod can follow an atmospheric Poetry Trail with texts and poems by, among others, Shakespeare, Keats and Tennyson. The trail focuses on six paintings with strong poetic or literary connections.http://www3.vangoghmuseum.nl/vgm/index.jsp?page=143802〈=en

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Me, Ophelia

15 February 2008 - 18 May 2008

In 1851-1852 John Everett Millais painted a canvas that would become his most famous work: Ophelia. This compelling picture of the tragic heroine of Shakespeare’s Hamlet, floating in the water, has inspired artists for generations.

Ophelia is also referred to in film and pop music. For instance, Nick Cave and Kylie Minogue based their music video where the wild roses grow on the painting by Millais.http://uk.youtube.com/watch?v=jRMe5H9WKpM